A FILM by DOMINIK MOLL DIAPHANA FILMS Presents
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DIAPHANA FILMS presents A FILM BY DOMINIK MOLL DIAPHANA FILMS presents A FILM BY DOMINIK MOLL RUNTIME: 101 MINUTES SYNOPSIS Philippe Mars, divorced father of two and IT specialist (senior computer programmer?), feels cramped by his daily grind and swamped by the world around him: his overambitious teenage daughter, his pubescent son who has decided to go vegetarian, his TV journalist ex-wife, his domineering painter sister, his elderly neighbour who’s mentally stuck in the 1970s, his parents who died in a car crash, his falsely laid-back boss.... They all seem to have ganged up to make his world more complicated. When Jérôme, an infectiously insane co-worker, gatecrashes Philippe’s life, it veers completely out of control. INTERVIEW WITH DOMINIK MOLL The film begins on Philippe Mars’s (François his depth in the 21st. At the beginning of the film, With a boss who goes around handing out sweets Damiens) 49th birthday, which nobody else could Philippe Mars feels trapped by his own self and to his employees... care less about. A divorced father trapped in an his life, in which he finds it increasingly difficult to uninspiring job and a humdrum home life, Philippe perceive any meaning. But a string of events leads Yes, I lifted that straight out of a management seems to have lost faith in the future. It sounds like him to see everything – his work, his children, his tutorial! the premise of a standard psychological drama... life – in a different way. Originally, I also intended but the film is anything but that. How did it come to show the corporate world, with its pecking In his work and home life, Philippe tries to do the about? orders, powers and cruelties, and something of right thing, but he seems to find it hard to step out that remains in the film: for example, Philippe is of his role as a sensible observer. It’s as if he can’t I felt like doing a comedy, but a peculiar, offbeat a computer programmer in an IT company, doing bring himself to engage fully. kind of comedy about a person who tries his best work that few ordinary people could begin to to remain sensible in a world – our world – that is understand, in an open-space world that is quite The issue of engagement is key. The characters becoming more and more senseless, a character absurd but fascinating, like countless other offices who gravitate around Philippe are all committed born and bred in the 20th century who feels out of today. to something or other. For Grégoire and Chloé, it’s vegetarianism; for Sarah and her mother, it’s work; makes him different from Philippe, in particular, is You have a lot of fun with that in “News From for Jérôme, it’s love. Philippe Mars stands up for his ability to marvel at whatever he sees as an ideal. Planet Mars”. certain principles, including the principle of always Look at the way he talks about Chloé! Philippe has being sensible, but he doesn’t realise that he has only one dream, and that is to float weightlessly Yes. The comedic side of the film is based on the become essentially static. Jérôme is the tornado in space, alone. It’s a dream that gets more and principle of build-up: the build-up of physical and that makes him move. more nerve-racking as time goes on, as if gravity is mental blows inflicted on Philippe, the build-up of catching up with him. absurd situations, the build-up of intruders in his Ten years after “Lemming”, you’re back with your flat, etc. When Philippe wakes up at the beginning co-writer, Gilles Marchand, with whom you also To everyone’s surprise, after the “accident” that of the film, he is alone at home with his cat. Then his scripted “Harry, He’s Here to Help”. costs Philippe half an ear, he lets Jérôme move two children blow in, followed by Jérôme, followed in with him. His daughter Sarah accuses him of by the frogs, followed by his sister and her dog, Between “Lemming” and “Mars”, Gilles and I never “indulging a death wish”. and then finally Chloé, the vegetarian activist. Not actually stopped working together. We had just to mention his ex-wife on TV and the ghosts of his finished writing a movie directed by Gilles, “Into For once, Sarah gets it wrong. Philippe probably mother and father... It’s as if the film, like Philippe the Woods”, when we started work on “Mars”. feels subconsciously that Jérôme’s craziness can Mars’s brain, fills up until it overflows and tips over Very early on, Gilles and I imagined an alter ego bring him something beneficial. This is what stops into another dimension. for Philippe: Jérôme, a character with a radically him from throwing Jérôme out, even when Jérôme different mentality than Philippe. Jérôme is a fly in goes way over the top! Even François Damiens Dreams, and even fantasy, run all the way through the ointment, as Harry was fifteen years ago. While found the idea a little hard to take. He was afraid the film. Philippe’s dead parents appear to him we were tossing ideas around, we had fun drawing it would make Philippe seem too passive, but I’m and talk with him, getting smaller every time! parallels. “Harry’s back! He’s mad as hell and his certain that a character becomes really interesting Also, there are the recurring shots of Philippe name is Jérôme!” But Jérôme’s craziness is less only when he acts in a way that you yourself as an astronaut, and a quite surreal moment of threatening than Harry’s. There’s something more wouldn’t. communication between Philippe and his ex-wife playful about it. through the television screen. Why are you so fascinated by disruptive But still, Jérôme goes around with a meat cleaver characters? Gilles and I enjoy films that have an “all in the mind” in his briefcase! dimension, when you can imagine that everything is Perhaps I think I’m too sensible myself, which happening inside the protagonist’s head. We had a True, Jérôme is pretty much over the top. He’s as makes me enjoy imagining troublemakers... but hunch that such an approach would lend a distinctive OTT as Philippe is moderate. One guy has no lid one thing’s for certain: Gilles and I love dreaming tone to this comedy. We wanted the audience on, the other is too screwed-down! But Jérôme is up situations in which our protagonists’ excessively to have doubts about how real what happens to not just wacko; he also has a fragile, organized lives go off the rails. Philippe really is, and to wonder whether the events touching side. When he smashes up that follow the meat cleaver incident might be purely the computers with his meat cleaver, imaginary. Is Philippe still alive? The appearances of he’s expressing genuine despair. What his dead parents and his dreams add to this feeling. So it’s like being swept up in one big nightmare, life to rescue the frogs, he proves to his son that parents (including me), he often gets the wrong albeit a rather joyful one? he has abandoned his sensible observer’s posture end of the stick. He wants his kids to share his tastes and rediscovered a taste for risk and adventure, and concerns and ideals; he wants them to enjoy It was to accentuate this nightmarish quality that I and therefore for life, however ludicrous his rescue the Marx Brothers etc., but at the same time, he’s wanted the film to be very nocturnal. Almost all the mission may seem. As his parents say to him before no good at putting himself in their shoes. He thinks action happens after dark, and during the daylight they disappear for the last time, “What are you his son’s vegetarianism is a “foible” and can’t see scenes, like the ones at the office, we seldom doing, Philippe? Are you off your head?” why his daughter is so intent on being successful. see the sky and hear no sound from the outside We tend to forget that our children haven’t had the world. All we hear are the fans and the noise of Philippe’s 17-year-old daughter and 13-year- same lives and experienced the same history as us. the computers, which helps create a rather unreal old son see him as a loser. “You’re stuck in the and claustrophobic atmosphere. It feels as if we’re 20th century”, his daughter tells him. The film Like, for example, the idea of Europe and its going through a long tunnel with Philippe. Not until is very relevant and funny about parent/child present crisis, which Philippe’s journalist ex-wife the end, when they set free the frogs, do we finally relationships. covers in her live TV reports? see the sun for the first time. Parent/child relationships are one of the film’s key Precisely. I was born in 1962 and like Philippe, The light at the end of the tunnel! So the ending themes. Sarah, Philippe’s daughter, is pretty ruthless I’m still “running on Europe 1.0”, as his daughter is quite upbeat. in her judgments. She might seem unfair, given that says. I grew up believing in the ideal of a united Philippe does his best to be a considerate parent Europe that would take us away from World War Upbeat, yes.